Editioning

At Volcanic Editions artists can edition their own work independently or collaborate with me to meet their objectives.

The images below illustrate some of the range of possibilities achieved here within the different print disciplines with links to the artists personal websites to allow you see more of their work.

SCREENPRINTING

With the advent of water based inks, screenprinting has become a non toxic print process with a lot of additional advantages. It is easy to hold and print fine detail, the inks are odourless and everything can be washed clean with water.

As with photopolymer etching there are two distinct pathways allowing the hand painted, drawn and cut marks to be printed as well as a plethora of photographic options.

Frank Dolphin

Can be seen at https://www.loopartists.org.uk/

This image was created by painting onto Mark Resist with Indian Ink and using cut paper shapes to create flat colour. The soft almost litho like greys in the bottom left section were printed with three screens at different exposures from the same painted positive. Overprinted spatters and cut shapes were overlaid using more open meshed screens to deposit strong colour. Finally a fluorescent pink added just to spice things up.

Chance and Everything
Chance and Everything

Screenprint, Edition 10, Southbank 310gsm, 56x78cm

Janet Sang

https://www.janetsang.co.uk/

A complex print. This collage, part photographic and part drawn, is delivered through threshold captured layers. Split into distinct areas with quite different colour values, this makes concrete a convincingly spacial vision of an imagined world.

Exchange Control
Exchange Control

Screenprint, Edition 10, Fabriano Artistico 640gsm, 56x76cm

Andy Gammon

http://www.andygammon.net/

This collage by Andy takes imagery from a variety of sources and translates them into print using a range of photoshopped options.

Lightning
Lightning

Screenprint 25 colours, Edition 9, Fabriano Artistico 300gsm, 50x70cm

Livic Mills

Winner of our Volcanic Editions editioning prize (awarded anually at the Camberwell MA Printmaking final show). Livic printed this four colour tone separated colour separation over a three day block.

Wastwater
Wastwater

Screenprint 15 colours, Edition unknown, Southbank Smooth 300gsm, 70x100cm

Teri Walsh

https://www.teriwalshartstuff.com/

An ambitious sized pair of prints on gold and silver backgrounds. Threshold used on continuous tone originals to explore an ambiguous architectural theme.

Lines I (Cologne)
Lines I (Cologne)

Screenprint, Edition 7, Tub Sized Somerset Satin 310gsm, 94x72cm

Lines II (Valencia)
Lines II (Valencia)

Screenprint, Edition 6, Tub Sized Somerset Satin 310gsm, 94x70cm

Michael B White

https://www.michaelbwhiteartist.com/

13 or 14 hand painted positives on Mark Resist, orchestrated by the master of super charged colour.

Eccentrically Syncretic Floral Display
Eccentrically Syncretic Floral Display with Octopus

Screenprint, Edition 10, Fabriano Artistico 300gsm, 56x78cm

Sue White

A classic old school screenprint. Flat colours printed from cut rubylith positives lying behind a boldly drawn black keyline.

Untitled
Untitled

Screenprint, Edition 4, Fabriano Artistico 300gsm, 56x78cm

Michelle Cobbin

https://www.michellecobbin.art/

Michelle works intuitively directly through an open screen to make these monoprints. Often the prints are allowed to dry and then reworked sometimes with transparent colour to arrive at a finished state.

Untitled 1
Untitled I

Monoprint (screenprint), Unique 1/1, Southbank 310gsm, 76x56cm

PHOTOPOLYMER ETCHING

Photopolymer etching is a user friendly and very versatile process. The images you print can be strictly photographic or created by hand through drawing and painting onto a plastic support film. We use Mark Resist and Indian Ink as a preferred option but any tonal mark created in any way on a clear support film will work.

Photographic Images need to be made as positives on acetate or film, output in black at 300dpi. Ideally they should be rich in tone and surface value.

Mark Powell

https://www.markpowellartist.com/

Mark carefully scans section by section his large biro drawings (usually drawn on top of collages of old documents) before exposing onto A1 sized plates.

Basquiat
Basquiat

Photopolymer Etching, Edition 10, Velin Arches 270gsm, 102x63cm

Janet Sang

https://www.janetsang.co.uk/

Three plates, individually softly coloured and printed together.

Un-Picking the Future
Un-Picking the Future (Brighton Workhouse series)

Photopolymer Etching inked in colours, Edition 8, Fabriano Artistico 300gsm, 50x30cm

Bryony Rimmington Jones

Two prints from freely painted positives on Mark Resist using Indian ink. The second after wiping has been loosely painted directly onto the plate with thinned etching inks.

Seedheads
Seedheads

Photopolymer Etching inked in colours, Edition20, Fabriano Artistico 300gsm, 23x29cm

Water Lilies
Water Lilies

Photopolymer Etching inked in colours, Edition 20, Fabriano Artistico 300gsm 23x29cm

Adrian Hemming

https://www.adrianhemming.com/

Adrian, essentially a painter, worked with mixed media, (mostly Indian Ink) onto Mark Resist on a large scale. The resulting plate was carefully inked up in a range of close dark colours before printing. This is one of a series of 6 prints titled The Order of Time.

Water Invents Bright Spirals
Water Invents Bright Spirals

Photopolymer Etching, Edition 10, Velin Cuve BFK Rives, 270gsm, 63x90cm

Rosie Emerson

https://rosieemerson.co.uk/

Rosie’s starting point is usually photographs of models she has embedded in stage sets rich with mythic content. Once the plates are made she further develops her ideas through the print process, often printing on pre painted paper and sometimes by adding semi inked materials to the plate before taking the finished print.

Moonstruck
Moonstruck

Photopolymer Etching hand coloured, Edition 5, Somerset Satin 300gsm, 66x66cm

Lovers
Lovers (Edition 1)

Photopolymer Etching with offset fragments, Edition 18, Southbank 310gsm, 28x38cm

Sin Mui Chong–Martin

https://www.sinmuichong-martin.com/

Drawn and painted onto Mark Resist.

Waterspout
Waterspout

Photopolymer Etching, Edition 3, Fabriano Artistico 300gsm, 44x37cm

Mu-Tien Tammy Ho

https://mu-tien-ho.web.app/

https://www.instagram.com/mutienhophoto/

Working on tiny plates Tammy eloquently masters the art of controlling soft colour in closely defined areas.

A Soujourn in Yours: Upstairs Corridor on Hill Drive, 2019
A Soujourn in Yours: Upstairs Corridor on Hill Drive, 2019

Photopolymer Etching, Edition 12, Southbank 310gsm, 19x28.5cm

Paul Jones

Paul deploying his own secret methods managed to create and fix this charcoal drawing. I have never found another artist capable of controlling successfully this fugitive material – but it works well.

Brixton-Hill SW2, Super Cell Series, Untitled I
Brixton-Hill SW2, Super Cell Series, Untitled I

Photopolymer Etching, Edition 4, Southbank 310gsm, 43x48cm

Pam Aldridge

http://www.pamaldridge.co.uk/

Indian Ink, pen and brush on Mark Resist. Ink washes scratched back into. Lines in pen and crayon together with very fine scratched marks. Inventive, eccentric, deceptively simple.

UntitledI
Untitled

Photopolymer Etching, Edition 20, Fabriano Artistico 300gsm, 34x28cm

MONOTYPE

Monotype is a distinct form of monoprinting, a unique print made from an inked up plate (monoprint simply describes a one off print in any medium). Plates of any kind, copper, steel, aluminium or perspex can be used but we tend to use acetate sheets inked up and worked subtractively and then printed wet on wet.

It is equally possible to work painting positively on single or multiple sheets. Stripping off colour when wet and allowing prints to dry and then reworking gives further levels of control.

Jo Okell

A characteristic of these unusual prints is the use of a 21 inch roller to create large subtle colour blends, further manipulated by drawn marks and torn newsprint stencils. Jo’s prints are often the culmination of several days printing.

Clip
Clip

Monotype, Unique 1/1, Fabriano Artistico 300gsm, 76x56cm

This print is what Jo would consider only a first layer to be further worked on. I saw it as a completed statement.

Draft
Draft

Monotype, Unique 1/1, Fabriano Artistico 300gsm, 76x56cm

Spencer Power

https://www.spencerpower.art/

This is a beautiful example of a monoprint where the last layer of wet ink has been stripped off to reveal the drawing below.

Aria di Montagna
Aria di Montagna

Monotype, Unique 1/1, Fabriano Artistico 300gsm, 56x76cm

Krysia Drury

https://www.instagram.com/krysiadrury.irvine/

Krysia is probably the greatest exponent of the three colour monotype process drawing negatively out of cyan, magenta and yellow inked up plates. A difficult technique that yields usually one intensely coloured print followed by a subtler ghost print off the original but now depleted plates.

Spitfire Scramble
Spitfire Scramble

Monotype (ghost), Unique 1/1, Fabriano Artistico 300gsm, 56x76cm

DRYPOINT

Drypoint is effectively etching without acid. Using a metal scribe, lines are incised into a plate. The plate is then inked up and wiped and the ink in the lines transferred to the paper. We use a range of substrates all with different qualities. Copper or metal gives a longer lasting plate, perspex is a much cheaper alternative and then card. Card has the additional option of tearing off the smooth surface to reveal the paper below which then inks up a good solid black.

Jack Davison

https://jackdavison.co.uk/

Portrait cut into card. The solid blacks are where Jack has cut and removed the top surface to expose the raw card that when inked up, holds the black.

Mugshot Lad
Mugshot Lad

Drypoint, Edition 2, Southbank 310gsm, 30x25cm

Will Wood

https://www.instagram.com/wilfridwoodsculptor/

Drawing into the plastic surface gives an intense and forceful line quality.

Untitled
Untitled

Drypoint, proof, Fabriano Artistico 300gsm, 15x11cm

Drawn into copper. Even through the rich plate tone it is possible to see that the lines are just a bit more fluid and fluent, and there is a greater variety of line width on the copper over plastic.

Untitled
Untitled

Drypoint, proof, Fabriano Artistico 300gsm, 39x28cm

CARBORUNDUM ETCHING

When carborundum powder is embedded in a medium it holds a large amount of ink. As we work on perspex plates there is no chemical discolouration of the ink and it becomes an ideal vehicle for the delivery of strong colour. The plate making process with the option of making very liquid marks against stiffer ones tends to suit gestural painters best.

Adrian Hemming

https://www.adrianhemming.com/

These large plates are a real challenge to ink up and wipe but they deliver the cleanest and most intense colour.

Beyond Ithaca (detail)
Beyond Ithaca

Carborundum Etching, Edition 3, Velin Cuve BFK Rives, 270gsm 63x90cm

COLLAGRAPH

Collagraph tends to get a bad press through its links to evening class art, and imagery featuring the inevitable doily, leaf and piece of string. It can be used wittily with recognisable surfaces but it can also deliver painterly qualities. This is an inexpensive process that allows you to make very large prints with a wealth of surface detailt.

Adrian Hemming

https://www.adrianhemming.com/

One of a series of 10 prints titled The Shipping Forecast. These are printed from shellac coated card plates bigger than the paper size to bleed off all edges. The painted marks are made with a range of materials each with a distinctive signature delivering an extraordinarily rich surface to ink up and wipe. These large prints need to be seen in the flesh to fully appreciate them.

Rockall, Fair to Moderate
Rockall, Fair to Moderate

Intaglio, Edition 10, Velin Cuve BFK Rives, 270gsm 63x90cm

Spencer Power

https://www.spencerpower.art/

Very heavily embossed painted composition inked up in colours.

Abruzzan Apennine Abstraction No 2
Abruzzan Apennine Abstraction No 2

Collagraph, Unique 1/1, Fabriano Artistico 300gsm, 56x76cm

Ian Brown

https://www.instagram.com/volcanic_editions/

When Nigel Oxley came to give us a collagraph introduction I made this print to test the quality of some the different media we were painting on the plates, pva, heavy structure gel and modelling paste. These plates can also be scribed into and take drypoint tools well.

Untitled
Untitled

Collagraph, Edition 3, Southbank 310gsm, 40x30cm

MULTIPLE AND MIXED PRINT PROCESSES

In this final section I have placed prints that embrace more than one process or include additional layers – chine collé for instance. Chine collé is term used to describe the process of embedding another layer (usually tissue) onto the print often with pva as the plate passes through the press. The result is so seamless a part of the printed surface that it is often hard to distinguish as not printed.

Teri Walsh

https://www.teriwalshartstuff.com/

The water behind the tree in this print is a reduction woodcut, at about the longest length that can run through our etching press, chosen for the distinctive ink finish delivered through relief printing. The rest was screenprinted using photoshopped threshold layers.

Trees & Roots XV
Trees & Roots XV (River Monnow, Skenfrith Castle)

Reduction Woodcut and Screenprint, Edition 6, Tub-sized Somerset Satin 310 gsm, 87x39.5cm

Pat Thornton

This print contains some interesting elements on two plates. One photopolymer etching plate was contact exposed with scrim, and a second with elements on film, (the cut out legs and rectangle). Both plates were then combined with chine collé.

Dancing in the Dark
Dancing in the Dark2

Photopolymer Etching, Edition 3, Fabriano Artistico 310 gsm 30x22cm

Pat often combines tissue painted with acrylic as chine collé elements.

Keralan Ladies
Keralan Ladies

Photopolymer Etching, Edition 6, Fabriano Artistico 310 gsm 50x38cm

Jill Vigus

https://jill-vigus.tumblr.com/

Jill creates handmade artist books often combining several printmaking media. This example includes some conventional photographic screen stencils with layers of screenprinted monoprinting. Photocopy transfers are skilfully integrated in this piece.

KA Kangchenjunga Story - Image 2
A Kangchenjunga Story

Handmade book bound with Japanese stab stitch
Unique, Screenprint, Monoprint and Photocopy Transfer, Fabriano Rosapina, 20x20cm

A Kangchenjunga Story - Image 1
A Kangchenjunga Story

The book open
Unique, Screenprint, Monoprint and Photocopy Transfer, Fabriano Rosapina, 20x20cm